What is a Jet2 holiday? Explaining the viral meme
A new meme is taking off on TikTok and it's coming straight from the airport.
It goes like this: in an animated British accent, a woman declares that 'nothing beats a Jet2 holiday,' while comically bad, dangerous or silly vacation fails fill the screen.
The voiceover comes from a commercial for Jet2, a U.K.-based discount travel company.
The videos are garnering millions upon millions of views, as more and more people on TikTok join in on the fun.
But the commercial and sound aren't actually new.
What's a 'Jet2 holiday,' anyway?
Jet2 first aired its commercial back in December 2022, according to a news release.
The voiceover describes Jet2's travel deals while music plays in the background. The song is Hold My Hand by Jess Glynne, which came out in 2015.
Jet2 later uploaded the commercial to YouTube in January 2024, and someone posted it to TikTok that August.
According to the website Know Your Meme, which tracks online trends, the Jet2 Holiday meme began to take off in late 2024.
WATCH — Meet the 11-year-old behind the aura-farming boat meme
It started with a November 2024 post that shows an angry camel chasing a person in the desert.
A gif of the original Jet2 holiday meme on TikTok. A camel chases someone on holiday, as they nervously yell. (Image credit: alfred_m08/TikTok)
As the person screams and the camel continues running, we hear a voice say: 'Nothing beats a Jet2 holiday.'
The video received more than 3.7 million likes in less than a year.
Some other examples of videos using the Jet2 holiday sound. Left, a girl appears to run and eventually roll down a sandy hill. Right, a boy on vacation opens a large set of curtains in his hotel room, only to reveal a very, very tiny window. (notchloeexx/TikTok, bben9450/TikTok)
Jet2's official TikTok jumped on the audio trend in April 2025 by posting its own video. It received 12 million views.
But the meme didn't really go viral until this summer.
Trending now
As of July 18, more than 1.3 million videos have been posted using the sound.
And Google Trends, which keeps track of popular search terms, shows a big jump in the number of people searching for terms like 'Jet2holiday' in recent weeks.
A Google Trends search of Jet2holiday, reveals spikes of interest, or searches for the term lately. (Image credit: Google Trends)
Tell us what you think!
Have more questions? Want to tell us how we're doing? Use the 'send us feedback' link below. ⬇️⬇️⬇️
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
National Post
2 hours ago
- National Post
Colby Cosh: The tortured vulnerability of Ozzy Osbourne
Article content Sharon has become a global celebrity in her own right, and you can underline those last four words if you like, but that's not Sharon on 'Crazy Train' or 'Mr. Crowley,' either. It almost feels like a category mistake for Ozzy's obituaries to emphasize heavy metal per se, because most metal vocalists aren't anything like Ozzy and can't do what he did, even though many of them have far more pure singing talent. Article content The accepted model of the metal frontman is a strutting peacock of a man, an avatar of imperative power and toughness. On his best records Ozzy is more of a mad prophetic conduit, someone lifted onto a higher plane and brought back to Earth in an obviously damaged state, raving in Blakean riddles as the music thunders ominously around him. Article content In other words, he possessed a tortured vulnerability that really suited the Sabbatarian horror movies. Nobody else could have represented quite the same attitude while singing of being lost in the wheels of confusion or looking through the hole in the sky. A particularly fine example occurs on 'Snowblind' from the album Black Sabbath Vol. 4 (1972). 'Snowblind' is a song about cocaine, written (by Butler) for the single most cocaine-influenced record ever made in a heavily cocaine-dependent musical genre. Cocaine is thanked in the liner notes of that LP. And the song starts off with a shimmering Sibelius quality that kind of makes you want to try cocaine: Article content Article content But a few minutes into the track, Bill Ward pulls his boots on, the stillness lurches into a pell-mell boogie, the schoolboy snow metaphor is dropped, and all of a sudden Ozzy becomes a whining alleyway junkie, defending himself exasperatedly — perhaps in the face of what we would now call an intervention. Article content Ozzy, who continued struggling with drug use for three more decades, must have said stupid self-justifying words like these with total conviction a thousand times. They ring so true that you wonder whether Geezer Butler transcribed them directly. And they can only have been addressed to a concerned loved one, to a parent or sweetheart or comrade who had said something like 'Hey, ease up, I don't want you to die.' Notice how every line strikes a different note about drug addiction. 'You think you're better than me?'; 'You don't understand how bad I need it'; 'To hell with all you squares anyway'; 'It brings me a peace I've never known when sober.' Article content Article content Somehow this stanza fell into a love letter to cocaine made by cokeheads while on industrial amounts of coke. Are these words in earnest, or are they an ironic acknowledgment that Black Sabbath has cornered itself in a bad place? Ozzy's pleading vocals preserve the priceless ambiguity, the sense of fragility: 'Snowblind' would never have turned out that way at any other time or with any other singer. It's not a coincidence that Lester Bangs, the magisterial drug-abusing critic who had previously complained of Sabbath's leadenness, suddenly started comparing them to Dylan when Vol. 4 came out. Article content
Winnipeg Free Press
5 hours ago
- Winnipeg Free Press
Fringe at its gut-clutching best when it layers on the cringe
I have just laughed as hard as I have at the Winnipeg Fringe Festival in 20 years. Prodded in the gut until air escaped me in the most embarrassing way. The offending object was a play by Winnipeg performer Donnie Baxter called Shit: The Musical, which has its last show at 8:45 p.m. tonight. Supplied Shit: The Musical possesses a kind of gonzo spirit. My bright, witty peer Jeffrey Vallis gave it a one-star review in the Free Press last week. '(It) feels like a '90s after-school show gone horribly wrong — like if Barney sang about bowel movements instead of friendship,' he writes. 'Set in a university lecture hall, Dr. Eaton Fartmore teaches a class on the semantics of poop through stories and off-key songs that drag on like a bad bout of constipation.' All of this is essentially true — in fact, the play's narrative is perhaps even flimsier than this. But there's little accounting for taste — or for the tasteless things we savour. I will endeavour all the same. Imagine you are at the beautifully modern Theatre Cercle Moliere, named after France's most renowned satirist of its classical theatre. It's 11 p.m. on a Wednesday and there's a senior citizen singing tunelessly, 'Farts, farts, farts, always stink, don't you think? It's a shame, this awful name.' The awful name in question is his own, Dr. Fartmore, and this professor of linguists is riffing on Shakespeare's line about roses smelling as sweet by any other name. Groan? The audience of 30 assembled isn't laughing. Not yet. The fact they are not, only makes me laugh harder. It's as though we've all been ensnared in one of Ionesco's or Artaud's glorious trolls on audiences in their mid-century absurdist experiments. But for this to be funny for a few, seemingly it has to stink for many — including obviously Vallis, who does have a good sense of humour. I'm sure his bad review wasn't happily received by performer-playwright Baxter because at the end of the day, bad reviews are usually bad business. Fringe performers sink thousands of dollars and countless hours — staking not just their savings, but their reputations — on the chance to entertain us and hopefully break even. And they do it at a time when live theatre is said to be more endangered than ever, dulled by the narcotic pull of screen media: TikTok and Instagram memes, Netflix and the ever-churning algorithm. Believe it or not, we reviewers — as much as some may curse our names in the fringe beer tent — try to bear this in mind. But as Orwell's old adage goes, oddly fitting for the high politics of local theatre: 'Journalism is printing what someone else does not want printed: everything else is public relations.' All to say: Vallis's pointed, funny reaction to Shit: The Musical is as valid as the myriad bad, middling and good reviews we've issued through this festival. Still, in ultimately relenting to Baxter's routine I felt I was exorcising something. A resistance that reviewers like me can develop to a certain spirit of fringe that stubbornly eludes the star system. A gonzo spirit shared by another DIY artform supposedly destroying live art like theatre: internet memes. I mean especially those associated online humour styles that go by names like post-irony, shitposting, layered cringe. This is absurdist, often lowbrow humour that echoes older comedians such as Andy Kauffman, Tom Green, Eric Andre and Tim Heidecker. But otherwise, it's distinctly Gen Z — mocking those Millennials whose humour is still stuck in the era of YouTube, Vines and Jim Carrey movies when comedy meant straightforward skits, polished punchlines and mugging for the camera. Maybe it also owes something to a certain stubborn set of ideas still circulating in universities. Most liberal arts students, sooner or later, encounter the work of another French oddball who came after Ionesco and Artaud: Jean-François Lyotard, with his theory of postmodernity. This theory (stick with me) says we now live in a postmodern era — an age where 'grand narratives' have collapsed. Big, sweeping explanations such as Marxism or Christianity no longer hold sway. Instead, knowledge loops back on itself: science, ethics and meaning justify themselves by referencing other systems, not some fixed reality. Lyotard knew this would leave us ironic, skeptical, suspicious of truth claims — and he seemed basically fine with that. His critics weren't. They called it nihilism and accused him of corrupting young minds with moral relativism. Right or wrong about knowledge or modernity, Lyotard was strangely ahead of his time when it comes to understanding humour. So much of online youth humour feels postmodern today. It disdains narrative. Conventional storytelling jokes, unless ironically dumb, are old hat. Humour now is 'irony-poisoned,' as the phrase goes — self-referential, looping endlessly through layers of memes. But in being 'poisoned,' it's also frequently amoral, cruel even. This humour delights in mocking 'theatre kids' and older generations — people who crack earnest, dorky jokes and wear their sincerity a little too openly. Their guileless enthusiasm gets labelled 'cringe,' then enjoyed and recreated ironically for laughs. I am, despite these misgivings and my elder Millennial status, addicted to absurd Gen Z humour. Which leads me to wonder: is it possible I enjoyed the plotless Shit: The Musical and other one-star fare this year for unkind reasons? Was I laughing at Baxter, this 'theatre kid' in his 60s with juvenile but sincere humour who can't carry a tune to save his life, instead of with him? Maybe at first. But Baxter was also clearly laughing at us — trolling us like Eric Andre or an online shitposter, figures he may know nothing about, to test our prudish reflexes. Our lack of whimsy. And a certain point, about halfway through the play, it worked. The audience started giggling, going along with Baxter. Then roaring. So many fringe shows reach melodramatically for the universal in the most sublime and tragic things. Heaven and hell. Baxter's awkward, taboo stories about embarrassing trips to the bathroom on first dates and his surprisingly enlightening explanation of healthy stool shapes felt oddly more honest. I've had a lovely fringe festival this year. And reflecting back, I think the shows that have stayed with me weren't always the tight, touring shows I may have felt obligated to award high stars to. They weren't the shows with wham-bam, but ultimately safe, humour delivered with the finesse of new Simpsons or old Johnny Carson episodes. They were the ones that really took chances, lowbrow and highbrow. Shows that had at something at stake creatively, not just financially, even if they were messy. Especially plays such as Debbie Loves Bumblebee, The Apricot Tree, Brainstorm, Parasocial and Baxter's bonkers production. Most of which, for me, point in one way or another to throughlines between the wild theatre of modernism and the fringe and the chaotic DIY culture that proliferates online today. Shows that might also help to bridge the generational gap where live theatre is concerned, drawing in more young people to a festival that, let's be honest, skews towards an older audience. There's a couple of days left of the festival, and I hope more audiences take chances on the fringiest of Fringe shows — especially if me or my colleagues have panned them. — Conrad SweatmanReporter Conrad Sweatman is an arts reporter and feature writer. Before joining the Free Press full-time in 2024, he worked in the U.K. and Canadian cultural sectors, freelanced for outlets including The Walrus, VICE and Prairie Fire. Read more about Conrad. Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Globe and Mail
18 hours ago
- Globe and Mail
Manaslu Adventures digital transformation with support from EU's Última Milla program
The adventure travel company specializing in trekking and nature-based experiences overhauls its technology infrastructure to scale internationally and enhance customer experience. Madrid, Spain - 25 Jul, 2025 - Manaslu Adventures, a leading Spanish travel agency specializing in trekking and nature-focused adventures, has launched a major digital transformation initiative with support from the European Union's Última Milla grant program (Next Generation EU). The project marks a strategic move to expand internationally—particularly into the U.S. and U.K. markets—by leveraging cutting-edge technology to streamline operations and personalize the travel experience. Backed by an investment of more than €280,000, the initiative includes the launch of a next-generation website, mobile app, AI-powered tools, CRM integration, and a revamped booking system. The digital transformation is designed to position Manaslu Adventures as a premier provider in the growing global market for sustainable and immersive outdoor travel. 'We're building a connected and intelligent digital ecosystem that enhances how we create and deliver adventures,' said Sandra Amenedo, co-founder and Marketing Director of Manaslu Adventures. 'From remote treks in the Himalayas to tailor-made hiking experiences in the Andes, our travelers will benefit from a faster, smarter, and more personalized service—without losing the human touch.' Technology Enhancements Include: All-New Website & eCommerce Platform Built by creative agency Brandoon, the new website will feature a fully transactional booking engine, smart filters, and a catalog of curated experiences worldwide—all designed with mobile responsiveness in mind. Custom Back Office & API Integrations Developed by Envolvedge, the platform centralizes management of itineraries, suppliers, clients, and bookings in real time, while enabling seamless API connectivity between the website, CRM, and third-party channels. Traveler Mobile App (Vamoos-style) A branded mobile app will provide travelers with personalized itineraries, maps, documents, and notifications—even while offline. The app is fully synced with the company's internal systems for real-time updates. AI-Driven Personalization & Automation Manaslu is integrating artificial intelligence to automate itinerary planning, content generation, and customer service workflows—boosting scalability while maintaining operational excellence. CRM & Marketing Automation In partnership with digital consultancy The Roi Makers, Manaslu is implementing advanced CRM tools for customer segmentation, analytics, and automated remarketing. The company plans to invest €36,000 annually in digital campaigns across Google Ads and Meta platforms. Scaling Adventure Travel for the Global Market With English-language support, localized campaigns, and scalable systems, Manaslu Adventures is set to expand its reach across North America and the U.K.—two key markets where demand for active, nature-based travel continues to rise. 'Outdoor adventure travel isn't just a niche—it's a movement,' said Amenedo. 'This transformation allows us to lead that movement by combining modern tech, environmental responsibility, and deep local knowledge to craft life-changing trekking experiences.' About Manaslu Adventures Founded in 2016, Manaslu Adventures specializes in tailor-made trekking and nature-based journeys in more than 50 countries. From the Alps to the Himalayas, the agency offers group and private expeditions focused on sustainability, cultural immersion, and active discovery. Its mission is to connect people to the mountains through transformative, expertly guided travel experiences. Media Contact Company Name: Manaslu Adventures Contact Person: Press Office Email: Send Email Country: United States Website:
